This wall measures 2.44m wide, including the coloured vertical borders at either end (the colours of the left border have dissapeared completely). It is divided in two registers, the one at the top measures 1.30m high and the one below 0.40m (, and ).
Underneath, we find the usual white dado base of 0.47m in height.

This is divided in two panels, the left one being 0.60m wide and the one on the right being 1.77m. On the left a vertical sequence of four genre scenes, and on the right, a large festive scene where Merefnebef and a wife observe dancers and musicians. A structural interrelationship exists between the panel on the left and the section of the right containing the festive content in front of the couple. Although separated by a vertical black line, each is comprised of four sub-registers, whose lower limit forms a continuous black line. The context of the genre scenes appear therefore as an integral part of the feast, being its background or industrial and agricultural "kitchen".

Two men are represented kneeling on a white mattress, smoothing the surface. The mattress rests on a thick floor, suspended behind a row of 12 vertical poles; these are black, as are the other elements of the bed. Its surface is inclined slightly downwards toward the foot of the bed. At its right end (the top) is the headrest lying on its side.
Below the bed are 4 tables (or perhaps boxes), possibly intended for bed linen.
A similar scene is in the mastaba of Mereruka ().

Two pairs of craftsmen are seated at two tables and display their work, large necklaces. The similarity between the two groups : one leg placed on the knee of the other, hairstyle, colour of the chairs, etc., show than it possibly represents the same people in the two groups, seen from different angles, in accordance with the Egyptian aspective. Again, a similar scene is in the mastaba of Mereruka (). Above each pair can read : "Stringing collars".
A row of five chests is visible at the top of scene, painted black and white; these are very probably served to store the completed jewellery.

A man drives seven geese, abnormally large in relation to himself (is this a sense of humour ?). The one on the right lowers its head in search of food.

Two herdsmen drive six oxen. The animals are arranged in two registers separated by a fine horizontal line. The leading man presents all the signs of a lower social status : dark red skin, small kilt with a protruding front and expansive baldness.

The scene spreads up to the vertical border which marks the corner of the south and east walls. It is 1.77m wide. A vertical column of inscription divides the panel into two parts : on the right, sits the vizier; on the left, the scenes of dancing and music.

The vizier, accompanied by one of his wives (who remains unknown, due to the damage to the inscription above them), is seated on a chair with legs ending in lions' paws resting on small conical pedestals and with a cushioned backrest. Six boxes, of three different shapes, are under the chair. The couple are in a small kiosk framed with planks, painted in black with white irregular lines (in the same manner as the chair and boxes). The wall of the kiosk is decorated. It is divided in fifteen bands filled with green painted geometric patterns, which change to the blue in front of the head of Merefnebef ().
Merefnebef is clothed as in the double image of the east wall, and holds a long staff with his right hand and a flagellum with his left. The lady wears a tripartite wig, a large necklace and a long tight-fitting dress which reaches her ankles. The white dress is streaked with greenish motifs forming criss-crossing lines. Her right hand embraces her husband's right shoulder, and her left hand grasps his arm which holds the flagellum.
The inscription in front of the kiosk says : "Looking at dancers and harpists […] his villages of the funerary estate".

This area, left of the seated couple, is divided into four sub-registers, the bottom three being those of the entertainment. The four sub-registers are of unequal height, the uppermost being the largest. The lines dividing them are painted black.

The upper sub-register is further divided, equally, each 0.17m high and separated by a black line (see opposite). The upper of the sub-divisions is better preserved than the one below. They are both filled with a sequence of various offerings.

The three underlying registers show the musicians and dancers, who all face the seated couple. Their total height is 0.98m.
Each register starts with two musicians, described as wives of the vizier, playing the harp. In the bottom register, there is a male chironomist squatting in front of the harpists, who holds his left hand to his mouth, and utters (according to the legend : "I tell a tale, in everlasting words, of love (?) ".
The fingers of the harpists are only painted, they are not in relief, but are delicately and expressively shown on the instruments, which are painted in yellow and black.
There are several dancers behind the musicians. On the upper and lower registers, three dancers display movements of an more acrobatic nature, represented in an unrealistic way, with the body almost horizontal, left leg and both arms extended towards the vertical.

Behind every group of dancers stands a woman who beats the rhythm with her hands, probably while singing. In the bottom register there are two who beat the rhythm.

All participants have a similar style : short hair (or wig?), which, in the case of dancers and musicians, is completed with a pig-tail having a pompon at the end. All the dancers only wear a short white skirt, leaving their chest naked, with the well emphasised breasts. The women standing at the rear all wear long white dresses.
From what we know of the character of Merefnebef, it is more than likely that they also served him in other types of distraction.

This spreads across the whole width of the wall, and is 0.40m in height. The scenes are sculpted in raised relief, partially on the native rock, partially on a layer of mortar, and are very damaged (). The scene on the left, the largest, shows the transportation of sacrificial animals in two boats.
Separated from it by a vertical line, the scene on right represents eight musicians (split into two sub-registers), four harpists, wives of the vizier, at the top, and four men below. Note that the two sub-registers of musicians are placed below the chair of the couple ().

Returning now to the wall with which the description of this chapel began, this time on the south (left) side of the entry ().

The wall measures 2.75m long and 2.18m high (floor to ceiling). Like its counterpart, it is centred around a false door with, on each side, the vizier's representation. Below the scenes and the false door is the usual white painted dado area, leaving 1.71m in height for the decoration (including the top coloured border).

This is smaller than its counterpart of the north section of the wall, with only two doorposts of only 0.95m in height, these were painted in red, punctuated with black, imitating the Asswan granite. The overall width of the false door, to the outer edges of the doorposts, is approx. 0.55m. The recessed area, this time, stays above the upper boundary of the white dado area.
The central, darker niche, is surmounted by a rounded drum carrying the inscription "Sole companion, Merefnebef".
Immediately above this is the first lintel (0.18m high), then an oblong niche (0.3m high), and finally a second lintel (0.21m high). These extend to the width above the two doorposts.
In the niche, situated between the two lintels and on a central raised rectangle, a scene with additional text is carved in sunken relief and originally infilled with green ().
Merefnebef is seated in front of a table of offerings with 16 breads. Under the table are are four jars. He stretches his right hand toward the table, whilst with the left, he holds a vase of perfume to his nostrils.
Three other representations of the vizier are present on the door, one on each doorpost and one on the upper lintel. In all three cases, he walks toward the centre of the door, a staff in one hand, a sceptre in the other.
The inscriptions of the door are all of the type "hetep di nesu" ("an invocatory offering"), as has already been seen.

Not only the architectural structure of this false door is abbreviated in relation to the northern one, but also the framing content. On its northern lateral side, but not on the south, it is edged with a vertical sequence of the vases containing the seven sacred oils (, notice here also the coloured top border of the wall).

Again, an offering table, hewn from the natural rock, stands in front of the false door. This time the top does not reach the recessed surfaces of the false door itself, thus leaving an area of the white dado visible. The whole table was again painted white and its upper surface decorated with symbolical representations of offerings, sculpted in raised relief. This structure extends from the surface of the south wall, to about 1.1m short of the entry passageway. It is approx. 0.25m in height with a depth of about 0.6m (to the surface of the west wall).

Each side panel is subdivided into an upper register (1.22m) and a lower register (0.47m), thus giving four registers in total, two to the left of the door and two to the right.

In the upper register, in both cases, Merefnebef is turned toward the right, wearing a large wig, a large necklace, bracelets and a large kilt with a front projection.

The walking figure of Merefnebef has a long staff and his usual sceptre. An inscription above the scene, in seven columns, reads : "Hereditary prince, count, sole companion, true keeper of the headdress, chief Nekhbite, director of the two thrones in the House of Life, honoured one by Anubis Who-is-in-embalming-place, Merefnebef". Note the splendour of the colours again beautifully preserved ().
Kneeling behind him is his wife Iret; in front of him, the representation and the name of his son Manefer have been almost erased (). However, an attentive examination permits the recovery of : "His eldest son, his beloved, the inspector of the Great House, Manefer".

This register section shows Merefnebef seated before an offering table. The scene is very similar to the one already examined on the north wall. Merefnebef is even seated on his relaxing chair, he even has a small platform painted white. He holds out his right hand towards the first loaf of bread, while his left hand is folded on his chest, gripping a small white piece of material. The inscriptions resume with titles of the vizier, from which is this one : "Administrator of the 'Seba-Hor-Khenty-pet' estate".
The loaves of bread rest vertically on a platter, which is supported by a thin pedestal, larger at the top than at the base. Under the table, two small tables provide shelves for jars and vases.
Under the chair, is found the dog "One who is fashioned as a Stj", this time in company of a small monkey eating some figs. Perhaps these animals accompanied the vizier everywhere ().

Behind the table, up to border which edges the wall at the entry, are stacked a variety of offerings, looking quite natural (). Notice in particular, the representation of a bird, probably a pigeon.

This includes 5 lines of 21 columns; every ritual or offering is determined by two superimposed cells : the top one for the name of the offering or ritual, the one below for the quantity (there is no cell for the unit of measure). The sequence of the offerings and rituals follows, with some exceptions, closely to the canonical schema.

Divided by the false door, this measures 0.47m high on both sides. It shows a parade of porters with offerings and an orchestra.

Of the left side of the false door, three men walk towards it. There are also four of the far right-hand side, a little better preserved. All have short curly wigs and a small tight-fitting kilt. Their representation and the offerings which they bring are superimposable with what has already been seen. The text above those on the left reads : "Bringing the offerings by the servants of ka of the funerary estate of the sole companion, Merefnebef". Above those on the right it says : "Bringing the choice of forelegs by the servants of ka of the funerary estate of the sole companion. lector priest, god's servant, scribe Merefnebef".

This sub-scene is divided horizontally. On the upper sub-register can be found, as previously, the four wives of the vizier who play the harp: Sesheshet, Iret, Nebet and Medjut. All participants are squatting and face to the right.
On the lower one, four men : a flutist (Seba?) and three harpists: Mery, Pedenu, Iduiqer.